Hanum

[Galileo @glrhn]

"Bunyikan klakson jika sudah muak dengan MBG."

ME: *DENGAN KEDUA TANGAN MENEKAN KLAKSON TANPA HENTI*

[ALUTHEDON @Mbakaza4L]

"They're not hostages. They're in prison for crimes."

the crimes

[KontraS #StopGenocide🍉 @KontraSupdates]

🚨Breaking!🚨

Students holding peaceful protests in Jakarta are facing obstruction from the police and the military.

The police should protect, not suppress, people who peacefully exercise their right to protest.

The military should never be involved in controlling peaceful civilian demonstrations.

[ُ sushi ibushi 𖣂 @svhibe]

the zone of interest is a film about the idyllic, everyday life of an Auschwitz commandant and his wife, who raise their children in a home located directly adjacent to the concentration camp.
below is an unrelated photo showing Gaza from an israeli settlement.

[Ramy Abdu| رامي عبده @RamAbdu]

A French aid worker: “We found a mass grave in Gaza containing 300 bodies. Small children were killed with their hands tied behind their backs"

[krestenisasi terselubung @kresbung]

Sudah kami prediksi, arahnya memang ke sana. I TOLD U 🦅🦅🦅

[Sunny Singh @ProfSunnySingh]

They put zip ties on babies before killing them. How is anyone with a conscience supposed to process this horror?

[Ramy Abdu| رامي عبده @RamAbdu]

Jewish-American orthopedic surgeon Mark Perlmutter, who worked in Gaza, said Israeli soldiers took two Palestinian children, tied their hands behind their backs, and buried them alive at Nasser Hospital — their cries muffled by the dirt poured over them.

[intinyadeh @intinyadeh]

#intinyadeh Sumatra mati listrik massal (blackout) sejak 22 Mei.

4 warga tewas keracunan gas monoksida dr genset.

2 pelajar di Kab. Tanah Datar (1 lainnya kritis), saat cas HP di masjid.

2 wanita pekerja di Kab. Batu Bara (2 lainnya kritis), di konter HP tempat kerja mereka.

[Sly 🔎 @ykslyy]

I don’t think people understand the gravity of what we are looking at in this photo. This should infuriate every single one of us.

[Ryan Grim @ryangrim]

When critics pointed out black-and-white factual errors from the beginning to the end of the NYT’s “Screams Without Words,” one of the most consequential fabrications in the paper’s history, used to justify a genocide, the paper steadfastly refused to address them. Only when video evidence emerged directly contradicting part of it did they offer a soft “update” to the piece.

Note how differently critics of the Kristof piece are treated. Where the original article did not interview a single victim, Kristof spoke to 14, all corroborated in other ways too. The critics do not challenge a single fact, instead they argue that the behavior described is simply impossible, or dogs would never do that, and all the witnesses and victims are biased against Israel and should not be listened to. Not a single honest criticism of what he has reported has been presented that contradicts the facts he laid out.

Yet those critics — who hysterically impugn his character and even in many cases suggest he should be executed — get a polite and respectful reply from the Times. (And in their reply they double down on their old Screams piece, stridently and without evidence.)

[Ahmed Eldin @aseisfree]

Germany's domestic intelligence service has revealed its fascist character by criminalizing legitimate Palestinian activism through its designation of Handala, the iconic symbol of Palestinian resilience, and the watermelon representing historic Palestine as "secular Palestinian extremism."

This isn't counter-terrorism as they tell us, it is the state using its security apparatus to delegitimize Palestinian identity and crush dissent. By equating symbols of resistance with extremism, the BfV reveals itself as an instrument of authoritarian control, criminalizing political expression to align with Israel's apartheid framework.

This is the face of fascism: using state power to suppress marginalized voices and criminalize solidarity with the oppressed.

[Inisial RF 🇵🇸 @thoriqatuna]

Jokowi layak diseret dari rumahnya ke pengadilan, sih. Negara udh sinting kalo sama sekali gak ada pengusutan soal anggaran yg akhirnya sia-sia ini.

[trans judeo-bolshevik @transjewtalian]

on nakba day, frank sinatra’s daughter reveals or more accurately brags that frank sinatra actively collaborated with the haganah to smuggle funds for guns to massacre and displace hundreds of thousands of palestinians

[Matt Duss @mattduss]

To be clear: they’re not protesting against the sexual torture of Palestinians by Israeli authorities. They’re protesting against the NYT for reporting it.

[Ahmed Eldin @aseisfree]

This is ethnic cleansing by medical attrition, where hospitals become targets and ambulances are hunted, all to drive a population from their ancestral homes through the systematic demolition of everything that makes life possible.
https://t.co/0mInyDXyGQ

[Matt Kennard @kennardmatt]

You cannot negotiate with this type of evil

Like Nazism, it has to be defeated

[Assal Rad @AssalRad]

The lack of news on Gaza isn’t because the genocide is over.

It’s because Israel slaughtered the journalists and Western media pretends there’s a ceasefire.

[Fatima Menâl Akin 🍉 @FattumaMannul]

🎬 Gelin size Hollywood filmlerinde kamera ne zaman Meksika’ya, 'Ortadoğu’ya', Güney Asya’ya ya da Afrika’ya dönse ekranın neden aniden tozlu bir sarı tona büründüğünü anlatayım:

Sinema literatüründe "Yellow Filter" (Sarı Filtre) olarak bilinen bu uygulama, aslında sadece sanatsal bir tercih değil, modern bir oryantalizm ve sömürgeci bakış açısıdır. Breaking Bad ve Traffic’te Meksika’yı, Extraction ve Slumdog Millionaire’de Hindistan’ı, Black Hawk Down’da Afrika’yı ya da pek çok ajan filminde İstanbul’u ve “Ortadoğu’yu” sanki üzerine sarı bir sis çökmüş gibi görmemiz tesadüf değildir.

Bu görsel manipülasyon, Edward Said’in bahsettiği "Öteki"ni inşa etme sürecinin en kestirme yoludur: Batı dünyası parlak ve "soğuk mavi" tonlarla rasyonelliğin, ilerlemenin ve medeniyetin merkezi olarak sunulurken; "Küresel Güney" olarak adlandırılan ve tarih boyunca sömürgeciliğe maruz kalmış coğrafyalar sarı filtreyle boğularak "kaotik, tehlikeli ve durağan" birer suç mahalline indirgenir.

Bu durum, kolonyalizmin kurduğu o üstenci görsel hiyerarşiyi her karede yeniden üretir. Sarı ton; kuraklığı, fakirliği ve "eskiyi" sembolize ederek izleyiciye bu bölgelerin modern zamana ait olmadığı ve "ıslah edilmesi gereken, kirli bir geçmişte takılı kaldığı" mesajını bilinçaltından fısıldar.

Hikaye anlatma biçimi olarak bu filtreyi seçmek, o coğrafyanın gerçek renklerini ve modern dokusunu yok edip Batılı izleyicinin zihnindeki stereotipleri beslemektir. Sonuçta sinematografi, burada bir sanat dalı olmaktan çıkıp dünyayı "medeni merkez" ve "egzotik/vahşi çevre" olarak ikiye bölen politik bir araca, yani sömürgeci zihniyetin görsel bir mührüne dönüşür.

[Will Christou @will_christou]

Lebanese journalist Amal Khalil was found dead after hours of searching under rubble. She was killed in an Israeli strike, after the Israeli army fired at ambulances trying to reach her, delaying her rescue.

She is the fourth journalist killed by Israel while in the field since 2 March.

She was a professional, kind and dedicated journalist, and always a pleasure to run into in the field.